3D Objects

3D Object Q1: What is the difference between 3D and VR imaging?

Just the name really. Sadly, people tend to associate VR (Virtual Reality) with techies wearing funny goggles and gloves! In reality nothing could be further from the truth - you just need a PC (or Mac) and a mouse. We tend to use the term 3D-imaging now, as we have found it is easier for people to understand.


3D Object Q2: What sort of things can you do in 3D?

Pretty well anything you would normally photograph. We have specialist rigs to spin anything from a small coin to 2 tonne vehicles. See examples on this site and 3D Car FAQ's section below or check out our sister company www.totalvr.co.uk


3D Object Q3: How much will it cost?

We are asked this a lot. There is no simple answer and no, we are not being deliberately evasive! Unlike 2D (stills) imaging, 3D images can be specified with different numbers of vertical "bands" of images, as well as different numbers of images in each rotational band. For example a single band movie - normally called a "spin" movie - could typically have 18/24/30/36 frames (20/15/12/10 degree advance-angles). The more images there are in a movie, the more post-production time is required and costs increase in proportion. We also build in time for engineering support systems to hold the products in place when necessary.
We can estimate the cost of a job reasonably quickly, so please call us if you need a quote.


3D Object Q4: What output options are available for 3D object images?

This continues to change as software technology advances. Generally speaking exterior (spin) movies are output as QuickTime, QTVR or Java applets. Additionally we can export the external QTVR spin movies at 2x or even 3x their native viewer (on-screen) size. This increases the file sizes a bit, but allows the user to zoom in to sharp detailed data.

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Macro

Macro Q1: Is there a difference between macro and micro photography?

Strictly speaking, yes. Camera and lens manufacturers tend to bandy the term "macro" about rather freely. Often these lenses should really be classified as "close-focus" rather than macro. The magnification is typically described by a ratio - x:y. This refers to the ratio of real size of the object relative to its image size at the film plane - or digital CCD/CMOS sensor nowadays.
Close-up photography can be anything up to about 1:3.
Macrography is generally regarded as being imaging within the range 1:3 - 1:1
Micrography is generally regarded as being imaging within the range 2:1 - 5:1
Microscopy is anything beyond 5:1.


Macro Q2: Do you have specialist macro lenses?

Yes we do. As well as the latest Apo-Chromatic macro lenses in various focal lengths we also have specialist German and Swiss optics for imaging very small details like electronic circuits etched onto silicon wafers. Much more to the point, we have developed specialist support and lighting rigs for working at these magnifications. Without these, the lenses themselves are fairly useless.


Macro Q3: How small an object can you shoot?

Never really found out - but microcircuits are usually only a a couple of mm across and we have special systems which allow us to still maintain creative lighting control at that magnification. After that you're into the realm of white-light microscopy.

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Multi-media

Multi-media Q1: What is the procedure for starting multi-media projects?

We typically sit down with clients and take a detailed brief to work out what they are trying to say, and to whom. This is then made up into a storyboard which shows all the key-frame stages of the project along with any text-slides and notes. Only once this has been approved by the client do we move into the production stages. This saves time and money. We are able to generate high-quality media at a fraction of the traditional costs by using this procedure.


Multi-media Q2: How much is it?

Once we've established what clients require, we use a Pick & Mix approach to select video/multi-media techniques to meet the customers creative and budget requirements. Having additional budget to play with allows us to add more sophisticated effects to projects. However having tight budgets is no excuse for producing uninteresting media; we will always do our best to give clients the best job we can.


Multi-media Q3: How is the media supplied to us / How can we use the files?

One of the great things about modern multi-media files is that we can now prepare files at full HD (1920x1080) and then re-sample it down for use on laptop presentations or web use. Often files are made up for trade shows and then down-sampled in this way. Alternatively we work with designers to produce media that exactly fits specific requirements - web banners for example.


Multi-media Q4: What happens if we want to change some element of our project a few months down the line - do we have to start all over again?

We meet a lot of clients who have had bad experiences with this in the past. As with all our work we believe in charging customers for just what they need. If you need to change a line of text or drop in a bit of new footage to reflect changes in your product line, then we simply charge for the cost of generating the new section of media and re-rendering the project. 'Re-versioning' media - as it's known in the trade - is a very cost effective way of keeping your media current and costs down.


Multi-media Q5: Our product/service is currently in the prototype stage. Are you able to protect our confidentiality?

As with any product photography or design studio, all the products that come through the studio are - by definition - new products. We have worked on all sorts of sensitive projects from medical devices to Formula 1 cars. Because all our processes are done in-house, this enables us to offer excellent confidentiality.


Multi-media Q6: Can you emplain all the differnet HD file formats, there seems to be several?

There has been a lot of confusion about this as the technology has developed. Many TVs and monitors are marked HD or HD ready, but the exact number of pixels in them is often not true HD. Strictly speaking full HD is 1920x1080, but there is another sub-HD standard which is 1280x720. For reference, the old style standard definition video (SD) is 720x576. So full HD has about 4 times more data. We generate all our master files at full HD. This future-proofs clients jobs whilst still allowing them to choose their final output resolution(s).


Multi-media Q7: We need to generate projects in different languages - do you have experience of doing this?

Yes we do. We have re-versioned media in many different languages for use all over the world, and do more all the time. Please contact us for a current full list of languages we have worked on if you are interested.


Multi-media Q8: What sort of objects are you able to do in 3D?

We have many years of experience in producing 3D object photography for industry. Our studio has done all sorts of products from microcircuits right up to 4x4 cars and MPVs. We can not only image products as rotational Spin files but also as fully 3-axis Spin & Roll media.


Multi-media Q9: Why not just use CAD models rather than using photographic 3D?

If clients have 3D media generated in AutoCAD, then we are happy to integrate this and have done so successfully in various projects. However many clients, and more importantly their customers, often prefer to see real objects rather than computer generated ones. It demonstrates that products are real commercial samples rather than at the pre-production stage.


Multi-media Q10: How can we use 3D as part of our projects?

Typically clients use 3D image sequences to show how products look and operate. The 3D environment is ideal for demonstrating key features such as docking ports on computer-based systems or other design features or USPs. In addition to being able to rotate the products, the use of high-res. files allows us to freely zoom in and out of objects.


Multi-media Q11: We like the transformation [Morphing] technology, but how can we use this as part of our presentations?

Morphing is visually very arresting. It catches people's attention so this is great for trade shows and presentations. It is possible to seamlessly transform old products into new, competitors products into your own, or even completely different and dis-similar objects. A useful application of this technology is to blend between different products within a product family. For example a manufacturers' range of vehicles, electronic or medical devices.


Multi-media Q12: How do you go about starting video/animation sequences to show product design features or USPs?

Reference our general answer to the way we proceed with all media projects (above), we take detailed brief form clients and will then come up with detail proposals on paper before starting. Getting to work with a pencil and paper is often overlooked, as people like to get computers involved too early. We believe this is a fundamental mistake. We have an excellent track record of delivering projects on time and on budget. This is largely due to careful planning on projects at the outset.


Multi-media Q13: How do you use time-lapse in multi-media?

Distorting time with digital media is becoming increasingly inexpensive. We often incorporate some sort of time-warping sequences into projects as it provides inexpensive visual interest for the viewer. In addition it can produce specific advantages. For example, time-lapse sequences make it possible to show busy work environments such as offices, shopping malls or workshops without the need for expensive models or the issues associated with getting staff or members of the public to sign model release documents. Because all the moving elements, typically people, are slightly blurred this produces footage with a pleasing busy appearance without all the hassle.


Multi-media Q14: Do you have experience of working with high-speed [slow-motion] cameras?

Yes we do. We have our own high-speed video equipment and have access to even more sophisticated hardware if necessary. In addition we have specialist software, which allow us to seamlessly ramp the speed of video events up and down. Not only can this allow the viewer to see formerly imperceptible detail it looks great too.


Multi-media Q15: Can you produce complex 3D text effects for us?

Yes we can, and we can do it in-house. In addition to all the normal titling and rolling credits we can produce all sorts of 3D metallic text effects with reflection/texture mapping, laser like text effects, Magic Wand style writing scripts etc. The list is endless. We are also able to generate text with advanced kinetic effects, where the maths/physics is calculated to produce natural bounce/collision events between moving type elements. Typically customers want professional titling with appropriate weight and gravitas, but using our systems it is also possible to produce quirky and amusing titling if it is in keeping with the project.


Multi-media Q16: Can you produce 3D text from our logo to float over video footage?

As long as you can supply files in a suitable hi-res. format (typically EPS) then we can usually generate 3D versions using our software. Generating alpha channel masks for the video editing software produces floating text. These are often refered to as 32-bit files. As long as it is possible to generate these masked files, then the resulting text can be dropped in above existing footage.


Multi-media Q17: We have specific fonts/company colours. Are you able to use these in video/media projects?

Yes. We have a large collection of fonts on our systems. In the unlikely event you are using a typeface that we do not have, this can easily be imported into our machines.


Multi-media Q18: What is Green Screen technology and what is it used for?

In its simplest form most people will be familiar with Green Screen from the weatherman on TV. The presenter is shot against a flat green background and software is then used to generate a matt or mask which allows the figure to be dropped against a different background (in this case weather map). Typically this is used as a quick way to place actors into different backgrounds. These can be computer generated as in sci-fi films or other pieces of film footage or even graphic design elements.


Multi-media Q19: It used to be Blue Screen. What is the difference?

Yes it did, and sometimes it still is. The background key colour is chosen so that it is the simplest thing to digitally remove. Film cameras were more sensitive to blue light, but modern video cameras find green easier. In both cases the choice of the colour comes from the fact that these colours are not present in human skin tones (unless your extremely off-colour!) and most often people are the chosen subjects. It is possible to use any colour as a background colour as long as it is not present in the spectrum of the thing you are trying to cut out.


Multi-media Q20: Can you shoot footage against white to produce video footage for multi-media?

Yes, and we often do. Using peak white or pure black backgrounds is fine as long as you do not need to extract the foreground subject from the background. Otherwise it is quicker to use Green Screen technology to do the job. We have access to all these systems, so we normally choose the path of least resistance that allows us to get the job done within the time/budget allowed.


Multi-media Q21: What do we need to do to produce the panoramic Track-Motion effects on your site?

The Panoramic environmental imaging we produce can be generated from HD video and hi-res. stills images. We have mixed up a number of techniques to generate this media style, and can use clients existing images or new, commissioned work. The interesting aspect of the technique is that it allows us to produce striking media that stays sharp as the viewer moves around and zooms in and out of the space. This is a useful way for clients to demonstrate their facilities to customers, whether they are scientific laboratories or hotel/leisure groups. Delivery can be tailored to suit the user, but is typically via presentation panels or integrated web banners.

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Food

Food Q1: Do you have a house-style for food?

Not consciously, but we have tended to develop one. We have a simple "credo" that if we don't want to eat what we see in the photo, then we start again. Generally we try to produce bright "high-key" fresh images - this seems to work well for most clients, but we're happy to follow a specific design brief.


Food Q2: Do you have an in-house kitchen?

Only a simple one. Our bigger drive-in studio, which we hire when necessary, has a larger kitchen area, but food preparation has never proved a problem. All our shots are planned in advance, so we tend to pick up potential snags at an early stage and deal with them.


Food Q3: What sort of food do you shoot?

We do all sorts of food and drink imagery for packaging plus advertising for food retailers and hotels. This not only includes standard starter/main/dessert dishes but also soft and alcoholic beverages, snack foods, fruit and vegetables.


Food Q4: Do you do food photography on location?

Generally, no. Like cars, food is better shot in a controlled studio environment, but ask if you have a specific requirement.

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Technical

Technical Q1: What sort of technical imaging can you do?

We regularly shoot products that are transparent, reflective, fragile, extremely small or otherwise awkward to support/light/shoot. In reality most of the imaging we do is technically based and you'll see lots of examples throughout different section of this website.
Part of our service is designing images from a very basic brief. Often boxes of product just arrive at the studio without a design or a designer. This takes the pressure off clients and designers especially if they have complex photographic projects.


Technical Q2: Can't we just do it ourselves?

Sadly almost certainly not! Many clients waste a lot of time buying camera and computer systems to do technical imaging and end up in a mess. If you have a requirement for technical imaging, please get it done professionally. It is one of the few areas of photography that is not worth dabbling with - we have the equipment and over 25 years of experience.

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Concept / Special Effects

Concept/Special effects Q1: Do you have much experience in Special Effects/Concept imaging?

Yes, a lot. The SJM studio has a long track record for the production of Special Effects and Concept photography - both for industry and for international photo libraries. We work to very high standards, both designing and producing these images in-house. We have done this sort of work for many years - long before the advent of computer-based imaging.


Concept/Special effects Q2: Can we buy off-the-shelf images from you?

Yes you can. Even better, we regularly modify existing shots to suit a client's design layout and can add products or other design elements to these images. This can be an extremely cost effective way of producing a stunning photograph.


Concept/Special effects Q3: Do you have access to specialist equipment?

Because of the wide range of specialist work we do, we are able to use our own high-speed flash, remote-controlled aerial and 3D cameras, macro and other equipment to generate unusual shots. We also have a good set of "concept" props in-house. We have some very interesting boxes of weird stuff - boxing gloves, stethoscopes, hard-hats, piggy banks - plus access to a network of suppliers/set-builders/model makers etc. Please ask if you have specific requirements.

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Automotive / 3D Cars

Please note that we've merged our FAQ's for general "Automotive" and "3D Car" sections in response to feedback from users of this site

3D car photography Q1: What types of vehicles can you shoot in 3D?

We undertake 3D photography projects from motorcycles and small town run-arounds right up to massive 4x4s and people carriers. We have also developed systems to shoot much larger vehicles such as military tanks, JCBs, trucks and aircraft by using different equipment and techniques. Our specialist 3D car turntable has been equipped with automatic indexing to stop and start it at specific angles for 3D photography - it can also run smoothly and almost silently for video shoots.


3D car photography Q2: Can you give us some ballpark prices for shooting cars in 3D?

This is one of the few areas of photography in which we need to establish an accurate specification before we can offer a meaningful price.
360 degree car photography can be specified with different numbers of horizontal "bands" of images, as well as different numbers of images in each rotational band. For example a single band movie - normally called a "spin" movie - could typically have 18/24/30/36 frames (20/15/12/10 degree advance-angles). The more images there are in a movie, the more post-production time is required and costs increase in proportion. So choosing the number of frames in a 3D movie not only effects its quality but also has a direct bearing on the post-production costs. Multi-band (Spin and Roll) movies need to specified even more tightly to keep post-production times down and costs under control.
Be very wary of anyone offering simple answers to the question "How much is it?" as they probably will not have understood the issues involved. We have amassed a lot of experience in costing these jobs, so please call us if you need a quote.


3D car photography Q3: Can you shoot 3D cars in my garage/warehouse/field/studio?

The short answer is probably no. Although it is possible to set-build a working 3D environment on site, the number of man-hours and equipment necessary to make this work means that it is impractical for all but the highest budget jobs.
Car studios are quite unusual spaces - extremely large, smooth white or grey seamless coves, usually with one open end into which vehicles can be driven. Some can even take several articulated lorries at once. 3D studios are similar but they have no open end - or at least a closeable side once vehicles are in place. This ensures that the lighting and reflections do not change as the vehicles rotate. It's fairly obvious when you think about it, but often gets overlooked.


3D car photography Q4: My car is very valuable - will it be safe?

Yes it will. We take a great deal of care with vehicles whether they are new production line cars or valuable classics. Some of the vehicles we have shot have been worth millions of pounds, so we are used to it. You're welcome to come on the shoot and stay with your vehicle(s) if you wish.


3D car photography Q5: Do you shoot Classic cars

Yes we do - and we enjoy it. We understand that whilst collectors are often delightfully keen and knowledgeable, they are not always rich! Commercial jobs for big car companies are easily funded, but individual collectors/restorers and clubs can benefit from our discounted rates if we can get groups of vehicles together to share the overheads of using professional 3D car studio space. If you were at the NEC Classic Car show in Autumn 2007 you may have seen our show stand. Talk to us about this if you are interested as we always enjoy working with enthusiasts.


3D car photography Q5: What output options are available for 3D car images?

This continues to change as software technology advances. Generally speaking exterior (spin) movies are output as QuickTime, QTVR or Java applets. Interior (2-axis and 3-axis) movies can be output as QTVR, Java, or directly to Flash 9. Note that Flash 9 output isn't always compatible with earlier versions of Flash - sorry, we don't write the code! Additionally we can export the external QTVR spin movies at 2x or even 3x their native viewer (on-screen) size. This increases the file sizes a bit, but allows the user to zoom in to sharp detailed data.


3D car photography Q6: Where can we purchase the kit you use for your interior automotive imaging?

Most of our specialist equipment is designed and built for us in-house. The equipment is constantly modified and improved to suit different commissions. Our 3D imaging rig allows us to shoot inside cars from the driver's eye position, allowing the viewer to see the instruments as if they were sitting in the driving seat. We are not currently manufacturing this equipment for use by other studios.


3D car photography Q7: Can you photograph my car on site?

See answer to similar 3D question above.

If the image is going to be used as a still only - not in 3D - then yes, vehicles can be shot on site. However there is a big difference in the way professional location and studio shots are organised, lit and post-produced. In particular issues regarding reflections of the surrounding environment in the bodywork and glass surfaces need careful thought. A lot of commercial car images which appear to show vehicles on location - e.g. cars shot on a cliff top at sunset or speeding around an empty section of freeway - are actually shot in studios and seamlessly blended into their location images.
By comparison photographing car interiors on location is relatively painless.

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3D Spaces

3D Spaces Q1: What sort of 3D spaces do you photograph?

As a result of R & D spin-offs from working in the aerospace and automotive industries we have developed systems for shooting in very confined spaces - car cabins and flight cockpits for example. These systems can also be used to image portaloos, bathrooms, kitchens and other small spaces.
Bigger spaces such as offices, hotels, shopping malls and airport terminals are readily imaged in 3D, although the issues involved in photographing these bigger spaces can be quite different in terms of preparation and forward planning. High quality results come from attention to detail when choosing and preparing the shooting sites.


3D Spaces Q2: Can you do generate panoramic movie tours?

Yes. We can generate hot-spot tours and/or interactive map to link 3D panoramic movies. There are many ways to do this, so it's worth talking through the options. Often we just provide good quality panoramic movies to other design professionals or web developers, who integrate them into their own 3D environments. Unfortunately the panoramic 3D market has attracted some unqualified operators who offer very cheap rates, but leave clients disappointed and cynical about using this very interesting technology. The equipment and software can look deceptively easy to operate, but poorly operated it can lead to very amateurish results.
Please make sure you get to see samples of work or get a personal recommendation before commissioning this type of work. We are always happy to recommend other professionals if we are not able to do these jobs ourselves. We realize that sometimes it is simply more cost effective to use local suppliers.

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Medical

Medical Q1: What sort of medical photography do you do?

SJM do a lot of clinical and sterile areas - hospitals, dental surgeries, operating theatres and also sterile packing areas that are used behind the scenes. Often clients like to employ contractors who have previous experience of working in these areas, who can offer intelligent imaging solutions without having to be brought up to speed with issues about hygiene and contamination of prepared working sites.


Medical Q2: Do you do most of your medical photography on site?

Actually no. Obviously some images have to be shot on site, but a lot of products come into our studio for photography. Often these products are either at prototype or very early production stages. We shoot a lot of medical and dental instruments and consumables this way and then they are often digitally montaged into our own or third party library images of sterile environments to produce graphics for trade shows or brochures. This is often a cheaper and quicker alternative, and avoids disrupting busy schedules in surgeries and theatres.


Medical Q3: Do you have a specific style for medical or dental photography?

Well there is one, but it's largely dictated by the industry itself, not us. Essentially this is clean high-key studio photography. Images need to be very crisp, sharp and clean cut to suggest cleanliness and precision. Medical shots are often cut to pure white or white/blue backgrounds, the dental market tend to use white or white/green.
We have developed techniques for imaging all sorts of metal and plastic technical instruments as well as transparent plastic and silicon rubber gadgets, tubes and scopes.


Medical Q4: What sort of medical clients do you work for?

Quite a broad range, from multi-national manufacturers of medical consumables and distributors of instruments used in the dental and medical fields, right down to small independent companies who provide services and products to these industries. We've also done photography for dental laboratories and pharmacies, as well as supplying images for international photo-libraries.

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On-Site Photography

On-Site Photography Q1: What sort of photographs do you take on location?

After 25 years, we have shot almost anything you can think of. We provide imagery for aerospace, banks, engineering companies, dental surgeries, hotels, hospitals, factories and retail stores.


On-Site Photography Q2: How much work do you do on location?

Each year we travel thousands of miles on location, sometimes internationally. We prepare detailed location data to ensure that we are ready for the unexpected - which frequently happens!


On-Site Photography Q3: What do you do about "Model-release"?

Generally we try to avoid it! Strictly speaking, anyone who is recognisable on a commercial image should sign a form to say they that they are consenting to the image's use. This is a major headache and involves someone fiddling about with paperwork. This is not good on a busy shoot, especially where the public are involved. Even in controlled situations, staff leaving or being made redundant after shoots can cause problems for the client. Consequently we try to shoot people with a slight movement blur or keep them out-of-focus, this make spaces look busy and modern. Obviously this is not an issue with professional models.


On-Site Photography Q4: What do you do about safety and insurance?

All our kit is fully tested. We always carry safety helmets, boots, jackets, gloves and goggles when appropriate and we are covered for Public Liability Insurance.

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General

General Q1: Is your work-flow completely digital?

Yes. SJM were earlier adopters of digital systems and have been shooting digitally for 10 years. We continue to invest in the latest equipment as it evolves. Our studio has large hi-res display monitors to show captured images in real time and photographs can be seamlessly transferred to our post-production computers from the main studio. On complex technical, 3D or macro jobs, being able to remotely control and fire the cameras without touching them is genuinely useful and not just a gimmick.
We regularly calibrate our monitors and printers so that we can ensure colour accuracy to final output.

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People

People Q1: Do you do portrait work?

Occasionally. Usually this is as part of our work within a company when we are asked to shoot directors and/or team workers. We will also occasionally shoot clients with their partners/families as a professional courtesy, but it is not part of our mainstream work and depends if we have studio time available.


People Q2: Do you have your own models/model lists?

Yes and no! We have model agencies that we rely on when necessary, but we also have a shortlist of models that we have worked with previously. Working with models we know and who are used to the way we work is much more relaxing and hopefully it shows in the end result. We always encourage clients to work with us and/or model agencies to choose the correct models for their projects.


People Q3: Will you work with children?

Yes. The adage of "never working with animals and children" is rubbish. It is often challenging and one needs to go with the flow, school shoots often produce some spectacular shots. However, trying to work to pre-conceived design layouts is often frustrating and suggests that the designer has not spent much time with kids!

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